HYPOTHESIS TWO: The Cinematic Trope

“If the film is thus severely restricted in rendering linguistic tropes, it has, through the process of editing, discovered a metaphoric quality all its own. Film editing, combining the integrity of the shot with the visual rhythm of the sequence, gives the director his characteristic signature… Through editing, the film-maker can eliminate meaningless intervals, concentrate on significant details, ordering his design in consonance with the central line of his narrative.”

It is in the re-constituting of parts to form a visual language that the ‘re-constructive’ part of the adaptation process begins. It is in the exploration of form and experimenting with structure and sequence that this ‘metaphoric quality’ can be imbued into the piece. In both my print and motion projects I am trying to learn how visual rhythm can imbue a visual sequence with the essence of the original content; the original script. It is important that I do not lose this original essence – though I find as I reconfigure and recombine parts, I am re-authoring and re-writing the original.